Philippe Duvin, black and white portrait

25 years of making. The whole picture.

Image, motion, sound, story. I shape coherent worlds for brands, from the big idea to the last frame, and lead the teams that make them. Based in France, open to relocation.

25 years of directing and making
300 films produced and directed
100+ clients, from Siemens Healthineers to Sanofi
1 Annie Award winning Netflix series supervised: Oni

The path

Always on the next tool,
always for the story.

1999 to 2002 The web Art direction, animation and sound design for dozens of websites at Net Up, the internet start-up of the Avenir Télécom group.
2002 to 2006 New Orleans, then animation A year in the US, then 18 months of character animation at Animation Mentor with Pixar and DreamWorks mentors.
2008 to 2012 Agency art director Art director at Quartier d'été. A social media launch for Bénéteau on a tight budget won a Gold Wommy in Las Vegas and the Grand Prix Stratégies.
2012 to today My own studio, Jem studio 300 films for 100+ clients. Director and producer on every one: the team, the client, the suppliers, the rights.
Series Netflix and Prime Video Animation supervisor and technical animation supervisor on Oni (Tonko House, Netflix, 2 Annie Awards) and Hello Kitty Super Style (Prime Video).
Schools Teaching 100+ graduation films supervised at MoPA, ESMA and L'École des Nouvelles Images.
Always Music Guitar for 40 years. I compose the music for some of my films, including a TV show and a TV ad for Mindoza, and sound design has been part of the job since my first years on the web.
Now Real time and AI Unreal Engine in daily production, AI in every part of the work, and Citron, an app I designed, built and launched.

Selected work

Decisions, not just pictures.

[IMAGE: Oni]
Netflix · 2 Annie Awards

Oni: Thunder God's Tale

Three studios, two countries, one series, made entirely online during the Covid pandemic. As animation supervisor and technical animation supervisor at Megalis VFX, I was the bridge between the pipeline in France and the animators in Japan at Marza and ANIMA: rigs, pickers, tools and fixes, so nobody waited. Megalis came from VFX and this was its first animated series, so part of the job was bringing animation culture into the studio. I also directed and animated one sequence in house.

[IMAGE: Lacassagne film]
Centre Antoine Lacassagne

Radiotherapy, told to children

A pediatric radiotherapy center had only leaflets to explain treatment to children who must lie alone and still in a machine. We went on site, met the teams, the young patients and their parents, then made a light, gentle film that walks a child through the process. The goal was simple: take one layer of fear away. One of the projects I am proudest of.

[IMAGE: Unreal production]
Healthcare · MRI · Unreal Engine

Anywhere but the MRI

Not an explainer, the opposite. Children watch it during an MRI scan, so it takes them far away: a calm world to travel through, so they forget where they are, relax and stay still. Designed and produced solo in Unreal Engine, in real time.

[IMAGE: Citron]
Product · AI

Citron

After years in Maya's graph editor, After Effects' one felt unusable, and Adobe never fixed it. So I built my own: a dockable graph editor, full screen on a second monitor if you want, for animators who live in the curves. Coded with AI, then art direction, website and launch on Gumroad, LinkedIn and aescripts, all by me.

What I bring

Creative direction

Simple stories that land, whatever the budget. Nothing moves just to look flashy.

Teams and production

Teams, clients, suppliers, rights, and legal reviews with large groups like Siemens Healthineers and Sanofi.

Real time and AI

Unreal Engine and AI tools in daily production, and enough code to work side by side with engineers.

Teaching

Twenty years of turning complex tools into something a team can use the next morning.

Let's talk.

pduvin@gmail.com LinkedIn Jem studio

Based in France. Open to relocation: San Francisco, the US, London.